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States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance
Existence de edward bond au théâtre des argonautes à marseille
mise en scène francine eymery, collaboration artistique et scénographique jean-pierre girard
avec lionel barathieu et frédéric josse
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States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance
Maps have always had a somewhat precarious existence. Many were purchased for a holiday or weekend excursion, used intensively, and then discarded. As a result, surviving examples, particularly earlier editions, are often much scarcer than their original print runs might suggest.
I've always liked Michelin maps. Their clear design, detailed information and wide geographical coverage established them as a standard reference across much of Europe. Currently, I'm building up a flickr Album of my Michelin Maps, usually posting five or six at a time. This is part of the second posting.
Sarnath is the deer park where Gautama Buddha first taught the Dharma, and where the Buddhist Sangha came into existence through the enlightenment of Kondanna. Sarnath is located 13 kilometres north-east of Varanasi, in Uttar Pradesh, India.
The Buddha went from Bodhgaya to Sarnath about 5 weeks after his enlightenment. Before Gautama (the Buddha-to-be) attained enlightenment, he gave up his austere penances and his friends, the Pañcavaggiya monks, left him and went to Isipatana.
Isipatana is the name used in the Pali Canon, and means the place where holy men (Pali: isi, Sanskrit: rishi) landed.
After attaining Enlightenment the Buddha, leaving Uruvela, travelled to the Isipatana to join and teach them. He went to them because, using his spiritual powers, he had seen that his five former companions would be able to understand Dharma quickly. While travelling to Sarnath, Gautama Buddha had to cross the Ganges. Having no money with which to pay the ferryman, he crossed the Ganges through the air. When King Bimbisāra heard of this, he abolished the toll for ascetics. When Gautama Buddha found his five former companions, he taught them, they understood and as a result they also became enlightened. At that time the Sangha, the community of the enlightened ones, was founded. The sermon Buddha gave to the five monks was his first sermon, called the Dhammacakkappavattana Sutta. It was given on the full-moon day of Asalha Puja. Buddha subsequently also spent his first rainy season at Sarnath at the Mulagandhakuti. The Sangha had grown to 60 in number (after Yasa and his friends had become monks), and Buddha sent them out in all directions to travel alone and teach the Dharma. All 60 monks were Arahants.
Several other incidents connected with the Buddha, besides the preaching of the first sermon, are mentioned as having taken place in Isipatana. Here it was that one day at dawn Yasa came to the Buddha and became an Arahant. It was at Isipatana, too, that the rule was passed prohibiting the use of sandals made of talipot leaves. On another occasion when the Buddha was staying at Isipatana, having gone there from Rājagaha, he instituted rules forbidding the use of certain kinds of flesh, including human flesh. Twice, while the Buddha was at Isipatana, Māra visited him but had to go away discomfited.
A stone pillar marks the spot where the Buddha preached his first sermon. Nearby was another stupa on the site where the Pañcavaggiyas spent their time in meditation before the Buddha's arrival, and another where five hundred Pacceka Buddhas entered Nibbāna. Close to it was another building where the future Buddha Metteyya received assurance of his becoming a Buddha.
Buddhism flourished in Sarnath in part because of kings and wealthy merchants based in Varanasi. By the third century Sarnath had become an important center for the arts, which reached its zenith during the Gupta period (4th to 6th centuries CE). In the 7th century by the time Xuan Zang visited from China, he found 30 monasteries and 3000 monks living at Sarnath.
Sarnath became a major centre of the Sammatiya school of Buddhism, one of the early Buddhist schools. However, the presence of images of Heruka and Tara indicate that Vajrayana Buddhism was (at a later time) also practiced here. Also images of Brahminist gods as Shiva and Brahma were found at the site, and there is still a Jain temple (at Chandrapuri) located very close to the Dhamekh Stupa.
At the end of the 12th century Sarnath was sacked by Turkish Muslims, and the site was subsequently plundered for building materials.
Sarnath has been developed as a place of pilgrimage, both for Buddhists from India and abroad. A number of countries in which Buddhism is a major (or the dominant) religion, among them Thailand, Japan, Tibet, Sri Lanka and Myanmar, have established temples and monasteries in Sarnath in the style that is typical for the respective country. Thus, pilgrims and visitors have the opportunity to experience an overview of Buddhist architecture from various cultures.
WIKIPEDIA
Existence de edward bond au théâtre des argonautes à marseille
mise en scène francine eymery, collaboration artistique et scénographique jean-pierre girard
avec lionel barathieu et frédéric josse
For the first time in six years of existence, the P1 AquaX was hosting a World Championship event sanctioned by IJSBA and it happened in Key West, Florida December 9th and 10th 2017. Since the Thailand King's Cup was being held at the same time, only 18 of the 25 pilots that made the selection were racing this week end. Nevertheless, Key West was a beautiful destination to race, every morning brought a different colour of sunrise and the ever changing blue hues of the water made this race memorable. After marine and storm delays, day one was hard for David Chassier after experiencing mechanical problems. Day two was a little better even if the Yamaha FX SVHO was barely taking 7000 rpm, the French pilot from Blois managed to finish 12 and 13, which placed him 15 overall. A big thank you to Barefoot Billy's Jet Ski Rental that helped us train the first days in Key West as well as Redler's family that gave us assistance and support during the race. Congratulation to our friend Nicolas Rius on landing a 3rd place overall despite a bad shoulder injury and we wish him the best recovery so he can be back a the top for 2018. This was the last race of the season, see you next year :)
Situated in Adam Street near Cardiff Prison. One of Cardiff's oldest pubs, in existence for 152 years. Retains its original tiled frontage and its brown ceramic urinals are said to be the last ones surviving at a pub in the city. Threatened with demolition by the St David's 2 city centre redevelopment.
Window in the north aisle by Clayton & Bell c1890 on themes from the Old Testament (I didn't photograph any of the Victorian windows on the south side owing to excess sunlight and temporary displays obscuring parts of them).
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.
In existence pre-war as Cyril’s Road House, Bob’s Cafe established itself as a greasy spoon of some local fame! Come the 21st century the site was derelict, and a car dealership has recently opened on site.
Top: 6 Dec 2008
Bottom: 5 Nov 2012
Steam engine exhibits, vintage vehicles, heavy shire horses and rural crafts. Working rural displays on a 500-acre site including old time steam funfair. Widely recognised as the leading event of its type in the world with 2,000 exhibits, 800 trade stalls and over 220 full size steam engines. At over 600 acres, the show ground is one of Europe's largest outdoor event locations. Established in 1969, for the first 15 years of its existence the steam fair then known as ~ Stourpaine Steam Fair' ~ was held at Stourpaine Bushes, then in 1985 it temporarily moved to nearby Everley Hill, following a land dispute. In 1988, after 3 years at Everley Hill, where access by large crowds was difficult, it moved to its current permanent home at Tarrant Hinton, north of Blandford Forum, where access is vastly improved.
A speciality of the show is the display of traction engines and steam rollers performing the work for which they were designed. Such displays include heavy haulage, threshing, sawing logs, ploughing and road-making. The main arena of the show is purposely sited on the slope of a hill to allow both steam- and internal combustion-powered machinery to demonstrate their capacity for heavy load hauling. One of the main displays is the ~ Showman's Line up, in the vintage fairground section, which is thought to be the largest collection of showman's engines in the world.
Since 2003, the show has contracted its own radio station, Steam Fair FM, broadcasting 24 hours daily from the Saturday prior to the show, to the Monday following – 10 days in all. The station, which is also streamed on the internet, covers show news and views, weather and other relevant information with plenty of listener dedications and a format of Vintage Hits. During the event, the station is advertised on roads in the surrounding area and provides traffic news for drivers using the A354 Blandford to Salisbury road that passes the show site.
With 1,000 trade stands, 2,000 exhibitors and their families, together with our campers on the public campsites (5,000 caravans and tents) it is estimated that the population living on site amounts to 25,000 people at any one time.
Total number of people expected to see the show is in excess of 200,000.
An army of workers distribute and collect the 2,500 litter bins on site and 180/200 tonnes of rubbish is taken away each year.
Each year there are more than 300 paid staff and volunteers working during the five-day show period.
Each year we have 360,000 promotional brochures printed, 65,000 car window stickers and 50,000 posters. These are printed 10 months before the show and then distributed over the next few months all around the UK and to overseas destinations.
Due to planning regulations, actual site preparations do not begin until only 2 weeks before the event commences and we have just 10 days to clear the site afterwards and put it back to a working farm.
Over 2 miles of water piping is laid and over 3,100,000 litres of water is used during the show each year! 2,100,000 litres are used by the engines alone, along with 1,000,000 litres used for domestic and drinking purposes. 750,000 litres of all the water is brought onto site by tankers with a full time team of 6 workers during the show and for a week before.
Over 10 miles of electric cable are used with over 100 floodlights erected and 200 socket outlets placed. 30 large generators have to be hired each year and just one generator is powerful enough to supply electricity to a small village. Electricity has to be provided to 6 entertainment pavilions, 4 shower blocks and other marquees and to our administration and emergency services centre. they have 3 full time and one part time electricians on site.
Each year over 200 tonnes of coal are used.
Over 560 barrels of beer were drunk at last year’s show.
80 tonnes of wood will be cut in this year’s wood sawing section.
16 acres of corn is cut before the show starts by an old time binder with 10 large ricks erected in readiness for the threshing demonstrations. The reed from the demonstrations is then sold to local thatchers who use it on thatched cottages all over Dorset and the neighbouring counties.
Mark Irwin worked for Convair as the Chief of the Film and Video Group from 1944 to 1977, during one of the most innovative and productive time periods of the company’s existence. His work covers Convair’s premier programs such as the Seadart, the R3Y Tradewind, the Atlas ballistic missile, the POGO and the Tomahawk cruise missile. In addition to routine filming projects, Irwin conducted a variety of unusual shoots such as cold weather (snow) environments at Squaw Valley and Bemidji MN, and in 1956 embarked on a 2 year assignment at Cape Canaveral, FL at the very beginning of the Atlas program.
Repository: San Diego Air and Space Museum Archive
States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance
The existence of a wooden church on the current site can be dated as far back as 675.
Robert de Brus I gained control of the area in around 1119. In the late 1100s the de Brus family build the manor house and chapel. The chapel remains as the basis of the St Mary Magdalene Church, which has undergone significant modification since it was built,.
In 1596 Ellen Thompson was condemned as a witch and buried under the stile of St Mary Magdalene church at the east entrance to the churchyard. Another woman, known as Old Mother Midnight of Elwick, may have been buried in the same place in 1641.
St Georg fighting the dragon
Es[?] hat auch ainer [...]s Ioh. Haesleus eine beschreibung
des von 19. [...] Ma[...] in Leipz[ig]. erhoben[en?] Tumults
herausgegeb[en?] 1594 in 4to.
[Partially illegible early ms. note concerning the existence of another work by a Johannes Haesleus (probably not Johannes Hasler, unless misspelled) on the topic of the anti-Calvinist riots in Leipzig in 1593, published in quarto in 1594.]
Penn Libraries call number: GC55 A100 593w
States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance
I want to reach You,
who am I,
who are You,
In deep essence of me
I feel Im not alone
You bend the time,
Omnipresent
in space, world,
I want to reach You
Reach me and whole my existence...
Capernaum:
Also known as Tell Hum, Khirbet Karazeh, Bethsaida, Capharnaum, Chorazin, Kefar Nahum, Kafarnaum, Kefar Tanhum, Talhum, Tanhum
In existence from the 2nd c. B.C. to the 7th c. A.D., Capernaum was built along the edge of the Sea of Galilee and had up to 1500 residents.
Today the ruins are owned by two churches: the Franciscans control the western portion with the synagogue and the Greek Orthodox’s property is marked by the white church with red domes.
Jesus made Capernaum his home during the years of his ministry: “Leaving Nazareth he went and lived in Capernaum” (Matt 4:13).
Peter, Andrew, James and John were fishermen living in the village. Matthew the tax collector also dwelt here.
Capernaum is one of the three cities cursed by Jesus for its lack of faith.
The Synagogue
The dating of this synagogue is debated, but it is clearly later than the first century. Excavations have revealed a synagogue from the time of Jesus with walls made of worked stone and 4 feet thick.
These earlier walls were preserved up to 3 feet high and the entire western wall still exists and was used as the foundation for the later synagogue.
Jesus was confronted by a demoniac while teaching here (Mark 1:21-27).
In Capernaum, Jesus healed the servant of the centurion. This Roman official was credited with building the synagogue (Luke 7:3).
In this synagogue, Jesus gave sermon on the bread of life (John 6:35-59).
The House of Peter
Excavations revealed one residence that stood out from the others. This house was the object of early Christian attention with 2nd century graffiti and a 4th century house church built above it. In the 5th century a large octagonal Byzantine church was erected above this, complete with a baptistery. Pilgrims referred to this as the house of the ap
ostle Peter.
Jonathan Davis of Korn. IZOD Center, NJ. 12.06.14
Feature Gallery on Music Existence: musicexistence.com/blog/2014/12/08/gallery-korn-live-at-i...
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.
Dome hall
Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.
1891, the Court museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of Ancient Coins
Collection of modern Coins and Medals
Weapons collection
Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments
Picture gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
English
In Mira D'Aire Village The Gruta de Moinhos Velhos, is one of the most important cave systems known in the Portuguese Maciço Calcário Estremenho, with about 9 km in extension. It is characterized by the existence of two fóssil paragenetic main conduits of about one decametre in diameter with dendritic tributaries, and a set of semi-active passages in a dendritic pattern at the north and angulate at the south. The fossil zone has a drop of 100 metres and the thickness of intermediate zone varies from 80 metres upstream to 60 metres downstream. Water flows in syngenetic galeries, from the northern to the southern quadrant, towards Gruta da Pena spring. It's possible to distinguish four genetic phases in the cave system development. The first one is represented by superficial phreatic galeries of small diameter, the second one by the Galeria Gémea paragenetic main conduit, the third one by the Galeria Grande and his tributaries and the last one by the active and semi-active galeries of the lower cave levels.
Mira D'Aire Village
Mira de Aire is a parish in the municipality of Porto de Mos, with 16.77 kilometers ² and 3 951 inhabitants (2001). Density: 235.6 inhabitants / km ².
It became a town in the Decree No. 22 432, 10 April 1933.
Initially he was part of the town of Minde until they detach. Mira de Aire appears sometimes recorded as Mira d'Aire, at times it is this museum contains the preferred term. Linguists Portuguese classics as Rebelo Gonçalves, in his Treatise on Spelling of Portuguese (Coimbra, 1947) write Mira de Aire. Rebelo Gonçalves give this case as a combination of vocabulary that presents the preposition with and elided and does not require an apostrophe. José Pedro Machado, another renowned linguist, also prefers Mira de Aire, but you can find Mira d'Aire in his works.
Although little spoken in relation to the nearby village of Minde is not likely that there are people who know a few words of slang minderosa in Mira d'Aire. The same is not true in Minde where much of the population speaks calao minderosa.
In this parish, whose territory is traversed by the Serra de Aire and Sierra of Lights, is one of the most spectacular natural caves and best preserved of Portugal, the cave of Mira de Aire, also known as Cave of Old Mills.
Português
pt.wikipedia.org/wiki/Parque_Natural_das_Serras_de_Aire_e...
O Parque Natural das Serras de Aire e Candeeiros é uma área protegida criada em 4 de Maio de 1979 pelo Decreto-Lei Nº 118/79 e tem por objectivo a protecção dos aspectos naturais assim como a defesa do património arquitectónico existente nas serras de Aire e Candeeiros; possui uma área de 38 900 hectares, abrangendo os municípios de Alcobaça e Porto de Mós no Distrito de Leiria e Alcanena, Rio Maior, Santarém, Torres Novas e Ourém no Distrito de Santarém.
Un siècle d’existence. Le Daniel McAllister est le plus gros remorqueur conservé au Canada, ainsi que le deuxième plus ancien remorqueur de mer existant dans le monde.
Le bateau remorqueur Daniel McAllister
www.vieuxportdemontreal.com/patrimoine/le-remorqueur-dani...
A century and counting. The Daniel McAllister is the largest preserved tug in Canada and the second-oldest oceangoing tug in the world.
The Daniel McAllister Tugboat
www.oldportofmontreal.com/heritage/the-tugboat-daniel-mca...
States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance
States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance
Hunting Eggs - Existence Easter Egg Hunt
Taken at BOOM, miseria, Bodyline, PIDIDDLE, eep, Kozmetika, Existence (214, 139, 22)